Nikzad Nodjoumi, a painter, graphic designer and illustrator was born in Kermanshah. Nodjoumi is a committed artist who depicts the stupidity and deception of authorities in his pictorial narratives in an ironic and biting manner. From 1962 to 1967, he received a bachelor's degree in painting from the Faculty of Fine Arts of Iran. A few years later, he moved to the United States to pursue further studies. In 1974, he earned a master's degree in painting from City College of New York. From that time forward, he combined his art with his political and social commitments, working with political groups against the Shah's government in the United States. Consequently, SAVAK prevented him from being hired and teaching at government institutions when he returned to Iran.

His first solo exhibition was held in 1974 at the Seyhoun Gallery in Tehran. After some time, he returned to New York to continue his professional activities. In the days leading up to the revolutionary uprising of 1979, he traveled back to Iran once again. However, his stay in Iran did not last long. He immigrated to the United States in 1981 following an exhibition of his drawings and paintings at the Tehran Museum of Contemporary Art. Nodjoumi has exhibited his works many times individually and as a group inside and outside Iran.

The focus of Nodjoumi's early career was graphic design and illustration. A number of children's books were illustrated by him during this period for the Institute for the Intellectual Development of Children and Young Adults, including Gol-e-Bolour and Khorshid (1968), which was selected at the Bologna festival. It was in the 1970s that he began to paint social and political themes. The artist aimed to convey that sense of terror and suffocation in his paintings by creating a multi-part space, with intertwined colors and signs scattered across dark and light parts. After that, he studied Iranian painting for a period of time; however, in his own words, "ten or fifteen years of painting in this field led to abstract results." During the 1990s, with a fundamental change in his vision and practice, he began to express his concerns about society and politics through a metaphorical, two-sided, humorous language. A balance has now been established between reality and fantasy in his visual world, between himself and the outside world. Throughout these works, he combines human and animal motifs in grotesque settings. The simultaneous coexistence of these elements in absurd and funny situations attributes a certain level of stupidity to their characters, which represent politicians and powerful people.